Like early '90s bands My Bloody Valentine, Mudhoney, The Lemonheads, and A Tribe Called Quest.Ĭanning, 53, says he listened to new music often in his 20s, when he was in other bands. "And I think we're much more interested in making sure that we the country where a good portion of our favorite bands are." "Some bands really have this 'Canadian' sound, and it keeps them in Canada," he says. Canning estimates that his band does better business south of the border. It’s about music’s redemptive power, and where that power ends.The current tour began with back-to-back performances in Vancouver, British Columbia, the only Canadian stop. The truth, the truth That fabulous lie I’m tired of smiling While you constantly die. Engle sings, “Things’ll get better ’cause they can’t get worse.” The album’s finale is “Mouth Guards of the Apocalypse,” a shimmering instrumental anthem at beginning and end, sandwiching a burst of despair from Mr. And “Gonna Get Better,” a somber march with dissonance at its edges, is as glum as optimism gets Ms.
Drew, is a duet (with Lisa Lobsinger) of shared recriminations and compromises: “My better is the best that you will find,” Mr. “Victim Lover,” a ballad with lyrics by Mr. Drew sings “Please Take Me With You” almost furtively, as if he were looking over his shoulder, desperate to escape some crackdown: “Nobody’s speaking/Everyone’s getting caught.” Haines upfront, braids together an elaborate stereo counterpoint of guitars, voices and syncopated beats, then gallops into a big shared chorus.īut that chorus notes, “You’re just the latest in a long list of lost loves.” As the album unfolds, the thrills of creativity collide with a recognition of destruction and collapse tempos slow, and the mood darkens. Engle, evolves all the way through, from a wordless, airy, seemingly tentative introduction into bustling orchestral pop. “Stay Happy,” with lyrics and lead vocals by Ms. But “Hug of Thunder” holds a growing disquiet.īroken Social Scene’s music rejoices in what clever teamwork can construct. On the surface, in these bands, the music’s crescendos usually signal euphoria. Something particularly Canadian - hearty, thoughtful, knotty, communal - unites bands like Broken Social Scene, Arcade Fire and the New Pornographers.
Its 2001 debut album, “Feel Good Lost,” was largely instrumental, and its songs since then have flaunted long introductions and interludes where hooks and intricate countermelodies pile up. Sound has always subsumed lyrics in Broken Social Scene. Keeping its options open, the group gathers its loosely knit crew of clamorous, flexible musicians behind songs that are ready for a big soundstage: an exultant surge of instruments, voices and wide-open reverberation that Broken Social Scene delights in applying. The collaborators on “Hug of Thunder,” the band’s first album since 2010, have grown up together and, by now, have also built their own careers, yet they still work on Broken Social Scene. It’s grand in sound and personnel, with 15 participants on its new album, “Hug of Thunder” it’s modest in constructing its music collectively, even though it’s packed with individualistic songwriters. Somewhere between a band and a concept, the Canadian group Broken Social Scene has persisted both grandly and modestly since 1999.
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